I can take a significantly better looking image with my iPhone today, than I could with a $22K digital camera in 1999. A teenager can share an image so much more easily with millions of people, for free, and do so so much more quickly, than I could as a photojournalist at The New York Times less than a decade ago… and that’s amazing, and at times of course: scary.
Both the QUALITY and COST have been evened out within our business: and historically that’s relatively rare.
The question we now must all ask ourselves as creative professionals is: how do we survive within this new landscape? (especially in one that is moving so fast!)
[...] Well then answer has been around for awhile. It’s nothing new: it’s called SKILL and KNOWLEDGE OF (and respect of) CRAFT.
Am I an idealist? SURE – but I also think I’m quite grounded in reality. And I think that as the cameras become ubiquitous, as everyone gravitates towards the same tools, the playing field will truly become leveled, and ironically we’ll discover that our only true differentiator in time will become the author’s understanding of how they can best put those tools into use. That is what will ultimately set us apart from one another. The exponentially increasing camera technology will indeed be its own worst enemy.
— Vincent Laforet
Read the whole post on: Vincent Laforet’s Blog.
PDN: What kinds of changes to the industry had the biggest impact on your work as an agent?
JR: Before I answer, I should say that the governing principles remain the same. It’s a timeless dynamic, going door-to-door flogging stuff. There’s all sorts of nuance, but it only takes one bout of sitting in an advertising agency’s reception area surrounded by portfolios—waiting for the assistant art buyer to totter out and escort you to a conference room—to allay any doubt that there’s something fundamentally Willy Loman about the whole gig. That hasn’t changed. Nor has the fact that we need them more than they need us.
There were times I’d take some conference call, having stepped away from the dinner table at home; I’d be pacing about on the porch, gesticulating like a spastic cranefly, snorting, laughing too loud, spouting platitudes about “authenticity” and “shooting from the inside out.” Then I’d come back in and there’d be [my family] Juliette, Winnie and Dusty staring at me with half eaten meals and that collective “who the fuck are you?” look. Like the girls had just watched their dad dance on a bar in a Speedo for nachos.
Digital changed the landscape. Before the pixel, craft was still an elemental component of the narrative. A process that involved trusting strips of cellulose in a mysterious dark box was replaced by instant, impeccable rendering, in situ on vast monitors. The photographer’s role as sorcerer and custodian of the vision was diminished: The question “have we got it?” became redundant. Now it was the photographer asking the art director asking the client. Which is a big deal. Because the previous dialectic was that you engaged people who brought something to the party you couldn’t provide yourself. Like Magi, the “creatives” brought creativity; photographers, vision. By abdicating those responsibilities to the guy who’s paying, you’re undergoing a sort of self-inflicted castration. A culture of fear and sycophancy develops. Self-worth diminishes, because nobody really likes being a eunuch, even a well-paid one. There’s less currency in having a viewpoint. The answer to the question “What have you got to say?” drifts towards “What do you want me to say?” There’s reward in being generic, keeping one’s vision in one’s pocket. Trouble is, when your vision has spent too long in your pocket, sometimes you reach for it and it’s not there any more. Something Pavlovian sets in: the bell rings when it’s kibble-time and you drool on cue. Suddenly many jobs can be done by many people, photographers become more interchangeable, the question of “Why him over her?” shifts to ancillary aspects of the process; personality, speed, stamina, flexibility. And there’s profit in mutability; being able to gather several photographers under a single umbrella with a shared mandate makes you more flexible and attractive. But the corrosive byproduct is that the unique sniper’s eye of a Greg Miller, Chris Buck, James Smolka, Sian Kennedy becomes not only less relevant, but actually an obstacle. In shifting ground to garner a larger share of the mainstream, you risk losing identity, licking the hand that feeds you.
There were other strands that played into this shift. The “make it look like my niece could have shot it” esthetic; the bespoke corporate stock library with its emphasis on bulk delivery of cliché; endless emphasis on “aspirational” as a reaction to difficult economic times. Oh, and how about the Death of Print? Half the industry getting fired in a month and no sign of a magazine this side of Bulgaria. Loop back to the top. Add decimation and fear.
Read More: PDN Online.
Cinematography is a strange blend of creative art and practical resourcefulness. Deakins is aware of this and, while striving for artistic relevance in his films, acknowledges that he sometimes needs to get out of the way and avoid favoring perfectionism over the realistic obstacles of a shoot.
He’s also quick to point out that his job is ultimately to serve the director and that the “art” of cinematography is meaningless when it doesn’t benefit the director’s vision.
It is this combination of attitudes that makes Deakins a voice of reason in cinematography circles. He’s such a capable artist who, at the core of it, is OK with releasing his “art” into the public — shortcomings and all.
Read more here: The Black and Blue.
Good advice on reaching photo editors with your work: “It doesn’t matter how you approach me as long as it’s a good photo”.
I sent takedown notices to a store selling phone cases, to Etsy for an artist hawking pirated prints of a fire ant, and to Twitter for an exterminator heading his company account with one of my bed bug photographs.This rate of commercial infringement is normal, as photographers and other online visual artists can attest. I deal with most cases by using a provision of the 1998 Digital Millennium Copyright Act DMCA that requires Web hosts to remove infringing content when informed. I send, on average, five takedown notices to Web hosts every day, devoting ten hours per week to infringements. Particularly egregious commercial infringers get invoices.
I actually have let a few of my most commonly infringed images go unenforced. I could not keep up, so I left these as a natural experiment. The result confirmed what I suspected: images that become widespread on the Internet are no longer commercially viable. Thousands of businesses worldwide now use one of my Australian ant photographs to market their services, for example, and not a single paying client has come forth to license that image since I gave up.
Copyright infringement for most artists is death by a thousand paper cuts. One $100 infringement here and there is harmless enough. But they add up, and when illegal commercial uses outnumber legal ones 20 to 1 in spite of ambitious attempts to stay ahead, we do not have a clear recourse. At some point, the vanishing proportion of content users who license content legally will turn professional creative artists into little more than charity cases, dependent only on the goodwill of those who pity artists enough to toss some change their way.
Many photographers and photo editors have asked me to look into rates for social media use. I reached out to Suzanne Sease for the first of what will be a series of articles looking into the pricing and usage. – rob
When Rob asked me to reach out to Art Directors and Art Producers to get an idea of what photographers are charging for social media, I got a surprising lesson. Since I was an Art Producer for over 20 years, I am very fortunate to be able to reach out to those currently in the field. To get a more complete understanding of pricing I spoke with people from traditional advertising agencies to social media ad agencies to in house corporate ad agencies. These businesses were all over the country from large to small cities.
I found quite a range in pricing with free use from amateurs to inexpensive stock to photographers shooting original content making the best rates. Several articles I found mentioned clients taking the ad budget for TV and allocating it to social media to use the free venues (Facebook, Twitter, Instagram, Tumblr, Pinterest, Vine, YouTube to name a few) to promote their brand. Because these venues are free, clients sometimes put little value in paying for images. Many have social media marketing rolled into use by asking for unlimited. Some said they spell it out like consumer print, social and internet because they don’t need trade. If they don’t have a great budget they will not ask for unlimited because it is print where the money is spent and social is thrown in.
Many clients doing social media only are looking for stock and a Senior Art Producer at large top agency I talked to said they pay as little as $50.00 to $65.00 per image for use with top brands. The images were anything from a scuba diver, grandfather and grandson fishing, a campfire, sandcastle on the beach, and cows grazing that were shot well. These images came from Getty, Masterfile, Corbis and Shutterstock.
One Creative Director at a social media advertising agency said they felt that places like Flickr, Tumblr and Instagram were going to make a photographers business harder while another Senior Art Producer said that Flickr was a dangerous alternative, because releases are not filed and determining if the person who posted the image is actually the true owner of the copyright can be difficult. They said they will only work with known stock companies because their contracts protect as well as indemnify their client. Another Senior Art Producer at another large International ad agency said they recommend clients purchase royalty free images from $300 to $500 each so they can use it forever. They also said that banner ads would price between $500 and $700 for year with a rights managed image. If they used rights managed images for social media, the range is $300 to $500 for the year.
There are some photographers who have positioned themselves to work on social media campaigns. I interviewed one photographer who has been asked to do many social media only campaigns and the fees have a huge disparity because of different client budgets. On the high end, they got around $8,000 for 6 shots in 1 day of shooting.On the low end was $650 for one image/unlimited usage. They said that most clients are looking for quick images that do not have the detail and production value of a print shoot. On the average shoot, the client wants up to 25 images with social media use only for around $5,000.
The best way to position yourself is to be on a retainer for a client so you can shoot when the client has an immediate need (sometimes in real time). This goes for about $10,000 a month for social media use only.
A Creative Director at a social media ad agency said they would pay $500.00 for a one image shoot with lasting 2-3 hours total (pre-pro, shoot and edit). This is how fast clients want to get their social media marketing up. And for shoots when they need 15-25 images in one day, their client pays $2,000 max. Some clients will have usage based on time but more and more are asking for unlimited.
An example of the speed of the images needed, if you remember during the 2013 Super Bowl when the power went out, it was the ad agency for Oreo (360i) who sent this tweet out and it was advertising gold. It was because usage had been covered in the original negotiation that allowed them to tweet it.
Kit Kat just surpassed Oreo at Apple’s expense with the “bending” iPhone 6 plus.
And then there is Real Time, where someone is hired to shoot and send images out as they are shot. The fashion industry likes to do this as well as brands holding an event to get more people to the event. In this situation they will pay about $1,000 to $2,000.00 per day plus expenses for a full buyout.
Finally and unfortunately in some cases advertisers are starting to use everyday people to add to their social media marketing to give their brand more attention. They are not paying for the rights to use those image.
Here are some interesting articles I found:
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information believing that marketing should be brand driven and not specialty. Follow her at SuzanneSease.
She is presenting with Kat Dalager Market Right 2014 in NYC on Wednesday, October 29th http://yodelist.wordpress.com/2014/10/03/were-proud-to-announce-market-right-2014/
If you want to comment on the “Directive for Commercial Filming in Wilderness; Special Uses Administration” that was widely reported to allow charging people $1500 to take photos on federal wild lands you can do so here (deadline extended to Dec. 3):
I can’t make heads or tails of the directive pasted below but on Friday the Washington Post reported:
After receiving complaints about a proposal to require photographers to have a permit to shoot on federal wild lands, the U.S. Forest Service says it will make some changes to ensure it doesn’t violate First Amendment rights.
And that the news media and private individuals will not be asked to apply for a permit to take pictures.
Directive for Commercial Filming in Wilderness; Special Uses Administration
This Notice document was issued by the Forest Service (FS)
Notice of proposed directive; request for public comment.
The Forest Service proposes to incorporate interim directive (ID) 2709.11-2013.1 into Forest Service Handbook (FSH) 2709.11, chapter 40 to make permanent guidance for the evaluation of proposals for still photography and commercial filming on National Forest System Lands. The proposed amendment would address the establishment of consistent national criteria to evaluate requests for special use permits on National Forest System (NFS) lands. Specifically, this policy provides the criteria used to evaluate request for special use permits related to still photography and commercial filming in congressionally designated wilderness areas. Public comment is invited and will be considered in the development of the final directive.
Comments must be received in writing on or before November 3, 2014 to be assured of consideration.
Submit comments electronically by following the instructions at the federal eRulemaking portal at http://www.regulation.gov or submit comments via fax to 703-605-5131 or 703-605-5106. Please identify faxed comments by including “Commercial Filming in Wilderness” on the cover sheet or first page. Comments may also be submitted via mail to Commercial Filming in Wilderness, USDA, Forest Service, Attn: Wilderness & Wild and Scenic Rivers (WWSR), 201 14th Street SW., Mailstop Code: 1124, Washington, DC 20250-1124. Email comments may be sent to: email@example.com. If comments are submitted electronically, duplicate comments should not be sent by mail. Hand-delivered comments will not be accepted and receipt of comments cannot be confirmed. Please restrict comments to issues pertinent to the proposed directive, explain the reasons for any recommended changes, and, where possible, reference the specific section and wording being addressed.
All comments, including names and addresses when provided, will be placed in the record and be made available for public inspection and copying. The public may inspect the comments received at the USDA Forest Service Headquarters, Sidney R. Yates Federal Building, 201 14th Street SW., Washington, DC, in the Office of the Director, WWSR, 5th Floor South, during normal business hours. Visitors are encouraged to call ahead to 202-644-4862 to facilitate entry to the building.
For Further Information Contact
Elwood York, WWSR, at 202-649-1727.
Individuals who use telecommunication devices for the deaf (TDD) may call the Federal Information Relay Service (FIRS) at 1-800-877-8339 between 8:00 a.m. and 8:00 p.m., Eastern Standard Time, Monday through Friday.
1. Background and Need for the Proposed Directive
The proposed directive is necessary for the Forest Service to issue and administer special use authorizations that will allow the public to use and occupy National Forest System (NFS) lands for still photography and commercial filming in wilderness. The proposed directive FSH 2709.11, chapter 40, is currently issued as the third consecutive interim directive (ID) which is set to expire in October 2014. The previous directive addressed still photography in wilderness and did not provide adequate guidance to review commercial filming in wilderness permit proposals. The notice and comments are collected and used by Forest Service officials, unless otherwise noted, to ensure the use of NFS lands are authorized, in the public interest, and compatible with the Agency’s mission and/or record authorization of use granted by appropriate Forest Service officials.
2. Overview of Proposed Directive, FSH 2709.11, Chapter 40
The Forest Service is requesting public input with respect to Agency policy. Our intent with the issuance of this notice of proposed directive is to consider such input and, as appropriate, incorporate it into future policy. Certain suggestions, whether due to legislative or other limitations, may not be implemented through Agency policy, and we wish for the public to understand that as well.
The current language has been in place for 48 months. This proposal would make permanent guidelines for the acceptance and denial for still photography and commercial filming permits in congressionally designated wilderness areas.
Section 45.1c—Evaluation of Proposals
This proposed section would include criteria in addition to that of still photography to incorporate commercial filming activities. Furthermore, the Agency is proposing to clarify when a special use permit may be issued to authorize the use of NFS lands if the proposed activity, other than noncommercial still photography would be in a congressionally designated wilderness area.
The proposed directive for FSH 2709.11, chapter 40, section 45.1c is as follows:
45.1C—EVALUATION OF PROPOSALS
A special use permit may be issued (when required by sections 45.1a and 45.2a) to authorize the use of National Forest System lands for still photography or commercial filming when the proposed activity:
1. Meets the screening criteria in 36 CFR 251.54(e);
2. Would not cause unacceptable resource damage;
3. Would not unreasonably disrupt the public’s use and enjoyment of the site where the activity would occur;
4. Would not pose a public health and safety risk; and
5. Meets the following additional criteria, if the proposed activity, other than noncommercial still photography (36 CFR 251.51), would be in a congressionally designated wilderness area:
a. Has a primary objective of dissemination of information about the use and enjoyment of wilderness or its ecological, geological, or other features of scientific, educational, scenic, or historical value (16 U.S.C. 1131(a) and (b));
b. Would preserve the wilderness character of the area proposed for use, for example, would leave it untrammeled, natural, and undeveloped and would preserve opportunities for solitude or a primitive and unconfined type of recreation (16 U.S.C. 1131(a));
c. Is wilderness-dependent, for example, a location within a wilderness area is identified for the proposed activity and there are no suitable locations outside of a wilderness area (16 U.S.C. 1133(d)(6));
d. Would not involve use of a motor vehicle, motorboat, or motorized equipment, including landing of aircraft, unless authorized by the enabling legislation for the wilderness area (36 CFR 261.18(a) and (c));
e. Would not involve the use of mechanical transport, such as a hang glider or bicycle, unless authorized by the enabling legislation for the wilderness area (36 CFR 261.18(b));
f. Would not violate any applicable order (36 CFR 261.57); and
g. Would not advertise any product or service (16 U.S.C. 1133(c)).
This is pretty funny in ways that it was meant to be and not.
From Paul Melcher’s blog “Thoughts of a Bohemian”
since editorial photography’s dominance in our cultural landscape diminished, the advertising world had to look elsewhere for inspiration. No longer can they count on their magazines to give them a hint on what type of photography is successful. Instead, they turned to the new trend indicator : Social media.
It will not be surprising, it is happening already, to see editorial photography influenced by brand photography. In an effort to keep pace with current trends, online and print publications are more and more looking into what works for brands and applying it to their spreads.
For now, we still live in a world slightly dominated by editorial photography, only because of cultural habits. But deeper, the evolution has already happened and is progressing with patient obstination.
Read The Article Here: Brands will define pro photography for the next decade. – Thoughts of a Bohemian.
I’ve known Richard Kelly and Judy Herrmann for several years now through the ASMP and different panels and events I’ve been a part of, so when I heard from Richard that they were launching a new educational series for photographers I was intrigued. I think they are both excellent people, so I simply asked them to tell us all about it and you can decide if it’s something you want to check out.
Can you give me a little background on yourself and Judy?
We’re both working photographers and experienced educators. Judy and her partner, Mike Starke, run Herrmann + Starke in the Baltimore-Washington corridor. In 1994, as early adopters of digital photography, they recognized the business opportunities and competitive advantages of the technology. Frustrated by the lack of available information for photographers making that transition, they took it upon themselves to educate the professional community about digital photography and business practices. Since then, Judy has given literally hundreds of seminars on professional business practices for photographers. In fact, we met when Richard attended Working Digitally, a day-long workshop Judy & Mike presented in Pittsburgh on his 40th birthday.
Richard’s photography practice started in New York City, assisting and producing for fashion photographers. He began shooting front of the book for some major magazines and eventually relocated to Pittsburgh, where he realized how much he didn’t understand about business. He joined the local ASMP chapter and, with the help of some great mentors, began learning on the job. Not content to keep what he learned to himself, Richard began giving seminars and teaching at Pittsburgh Filmmakers where he helps students master both the craft and the business of photography. You can see his work at RichardKelly.com.
In the early 1990’s, we each separately attended an ASMP weekend workshop called Strictly Business, where we were both struck by concept of photographers helping photographers. We share a strong desire to use the challenges we’ve overcome and the hard-won knowledge we’ve gained to make the road easier for others to follow. It’s no surprise that we both became chapter leaders and later national ASMP presidents. Our experiences in our own businesses and in leadership roles at ASMP have given us a strong understanding of the variety of paths that can lead to professional success and the need for constant adaptation and evolution as creative entrepreneurs.
Through your involvement with ASMP and different panels and presentations to photographers groups you’ve seen the industry change quite a bit. What’s different today from when you started?
There are so many changes, it would be hard to list them all. Many of them, though, can be traced back to changes in how photography is created and viewed. On the craft side, the learning curve is not as steep and the tools are less expensive, so far more people are taking photographs than ever before. This is great and has led to a fantastic creative renaissance, but it also means that much of the bread and butter work that was profitable for professionals has gone away.
When people do hire professionals today, it’s often for very different reasons than in the past. When we were starting out, mastering the gear – knowing how to use a 4×5 camera or professional strobes – was enough of a differentiator to earn a living wage. Since everyone now has access to affordable tools that allow them to take technically perfect photographs, professionals have to bring a lot more to the table. It’s not enough to create great photographs – to have honed your craft and mastered the tools of your trade – that’s just the cost of entry. Today, more then ever, your understanding of all the complex elements that form the business side of the business matter more than ever before.
The connectivity that we all now have is awesome and also creates a radically different environment for the professional. We can see so many wonderful projects that people are creating – not just locally but all over the globe. For the first time in history, professional photographers have the opportunity to build and connect directly with vast audiences without going through a publisher or really any gatekeeper at all. That was not possible even 15 years ago. This new accessibility to the tools of production and distribution place us smack in the infancy of a new age of enlightenment for photography and it will be very exciting to see where it goes.
Tell us about the online series you’re launching?
Richard has been teaching at Pittsburgh Filmmakers the past nine years and every year, sees what he calls the two week rule kick in: about two weeks after students graduate from their photo programs, he starts to get the panicked calls from students wanting to know what they should do next. Many of these students had wonderful educational programs but for the first time in four years they don’t have an assignment. They know they should be doing something, but what?
We’ve both given countless seminars on business, marketing, copyright, licensing, releases, pricing, etc. and have seen first-hand that students and emerging photographers are not the only ones struggling with business practices. We’ve met hundreds of mid-career photographers with “gaps” in their practices that are really holding them back.
For several years, we’ve talked about running some kind of intensive bootcamp but presenting an in-person program that’s accessible to people all over the country was just too cost-prohibitive. So we’re taking advantage of digital technologies to build a modular series of e-learning courses that will guide the emerging photographer through the process of building their careers, while also filling the gaps for those who’ve already started down the path and don’t want to reinvent every single wheel themselves.
The series will allow us to share everything we’ve learned about starting, growing, running and reinventing a photography career – not just our own experiences but also everything we’ve learned from the thousands of photographers who’ve shared their stories with us over the years. Instead of locking our audience into a linear path, the modular structure will let them pick and choose which topics are the best investment for them.
We’re kicking off the series at 2:00 pm eastern, Thursday, June 26 with a free 60 minute introductory class called What You Really Need to Know. It provides a soup to nuts overview of everything professional photographers need to understand to build a successful business. Registration is open at http://asmp.adobeconnect.com/e29xfy2u5y7/event/registration.html and all registrants will get free access to the recording.
Our first module, Launching Your Career, runs from July 10 – 24. Designed for students, recent graduates or anyone transitioning into the field, it provides an in-depth understanding of the nuts and bolts of starting and running your own business. Registration is open at http://focusonyourbusiness.eventbrite.com/?aff=1a0
APhotoEditor.com readers can save $40 by registering here or entering the promo code APFgo at the main registration site [APE does not receive any kind of commission for this].
How does your program differ from others photographers may be considering?
From a philosophical standpoint, the big difference is that neither of us believes that there’s a one-size-fits-all formula for how to build a successful photography career. We’re not saying, “Do what I do” or selling a non-existent magic bullet. Instead, we’re providing a toolkit – we’re sharing information and insights we’ve gained from a wide range of sources along with a framework for thinking about your business that will help people figure out what’s going to give them the best outcomes no matter what their goals are or the challenges they encounter.
We’ve also designed a unique format. Not only does our modular approach allow registrants to choose the topics they want but each module includes lectures, readings, exercises and live online office hours where we log into the e-learning platform with our students to take questions and discuss whatever they’re struggling with. The lectures provide insights and information. The readings deepen your understanding. The exercises personalize the information and foster deeper thinking. But it’s the Office Hours – where we’re interacting with our students and providing real time answers after they’ve had a chance to process and apply the information – that really set us apart.
Does the future of photography look bright to you? What can emerging photographers expect?
We are absolutely living through a new golden age for photography; the accessibility of capture tools and editing software plus the ease of getting your work out into the world has heralded a creative resurgence that shows no signs of slowing.
For professional photographers, though, the rate of change has created some significant challenges. There used to be clear career paths in this industry – you might become a staffer, a freelancer or start your own studio but if you followed certain steps you were almost guaranteed a decent living. Today, those paths are less clear and there are far fewer guarantees, but as communications become increasingly visual and audiences get more visually sophisticated, we’re seeing some great opportunities moving forward.
There are more collaborative opportunities for creative working together rather than going it alone. Our clients are starting to use photography in new and unique ways – often with the photographer as the lead creative – which allows for exciting new business models. Companies are starting to realize that repurposing print & TV content or taking a “DIY” approach to online and social media uses isn’t effective and are hiring professionals to create work just for these channels. So yes, despite the challenge of learning how to adapt to ongoing change (which is one of the big factors that drove us to create this new series), we see a bright future for professional photographers as well.
That’s not to say it will be easy. Emerging photographers – you need to be prepared to work your ass off. You’ll need a solid work ethic and a fierce commitment to this profession. You’ll need to invest the same time and energy into mastering the business side as you put into mastering your craft. But, if you put some real thought into designing your career, master some basic business practices and learn how to apply your creative problem solving skills to business decisions, we believe you can build a sustainable and satisfying career as a professional photographer.
I’m writing to let you know that my next film, KORENGAL, is about to come out on May 30th in New York. Tim and I had planned to make a follow-up to Restrepo, but a few weeks after going to the Oscars, Tim was killed in Libya while covering the civil war. I teamed up with our original editor and continued the project anyway. Restrepo was intended to give civilians an idea of what combat feels like; KORENGAL is completely different. It is meant to help soldiers – and civilians – understand the experience of war. How does fear work? What is courage? Why do so many soldiers miss the war? Why is it so hard to come home?
KORENGAL is completely self-financed and self-released. The upside is that no one could tell us how to make our film; the downside is that it is incredibly hard – and expensive – to get an independent film to hit critical mass and go nationwide. But that is exactly what we are going to try to do. If we sell out the Sunshine Theater (Houston and First Avenue) on opening weekend (May 29-June 1), Landmark will take our film nationwide. It will be a real victory for independent film – and for the whole national conversation about war and its aftermath.
In addition, a ticket stub from the film will get you a free beer or house wine at the Half King (23rd Street and Tenth Avenue ) on opening weekend.
Below is a link to pre-buy tickets. Obviously the daytime shows are the hardest to fill, so if you can go to those instead of an evening show, that would be fantastic. Thank you so much for your support. I can’t wait to hear what you think of our film.
Thank you so much for your support. I can’t wait to hear what you think of our film.
If you haven’t seen the slideshow for American Photography 30 check it out here: http://www.ai-ap.com/slideshow/AP/30/
Winners we’re announced at the end of April. Congratulations to everyone who made it.
M. Sharkey is an award winning portrait photographer and filmmaker living in NYC. He began his “Queer Kids” project in 2006 not long after Time Magazine published “The Battle Over Gay Teens: What happens when you come out as a kid?” as the issue of gay youth was beginning to gain national attention. Sharkey’s editors at Getty were among the first people to support the project; knowing it would have legs, they provided a producer to liaise between Sharkey and kids at youth organizations across the US.
By 2010 he had photographed gay and bisexual teens in several states, and aCurator, my online photo mag, had published a series. By 2011 the project was picking up steam with multiple editorial features here and abroad.
When French magazine “Be” contacted the Paris office of Getty about hiring Sharkey for an assignment to photograph “hipsters,” Sharkey and the writer became good buddies; it turned out her father owns a gallery in Perpignan, and in 2012 Queer Kids had its debut in Perpignan, coinciding with Visa Pour L’Image. An organization in Brussels learned about Queer Kids from the exhibition’s press release, leading to an artist residency for Sharkey to show the series so far and to make a new body of work in Belgium. These photographs are themselves being exhibited now at Rainbow House in Brussels.
Meanwhile a feature in Time Lightbox had drawn the attention of the production director at Getty’s Paris office, Marie Borrel, who followed the project closely and when she was tasked with finding just three photographers to show at la Nuit de l’Année at Rencontres d’Arles this year, she selected “Queer Kids.” In July, the work will be projected alongside 8 other photographers on 14 screens around town.
Sharkey travels to exhibit and speak about the series. He is applying for grants and will go on to make portraits in Europe (especially Eastern) as well as Asia and South America.
© M. Sharkey
On April 18, an avalanche on Mount Everest swept through a line of Sherpas preparing the climbing route for their commercial clients. Sixteen men were killed, making it the deadliest day in the mountain’s history.
We are a group of ten photographers who have worked extensively with the Sherpa people and are devastated by this tragedy. For us, this is a moment to ask how we can help our Sherpa friends—both in this time of crisis and in the years to come. As a first step, we are donating the prints you see here, a selection of our photographs of the Everest region and its people, curated by our editors, National Geographic’s Sadie Quarrier and Outside’s Amy Silverman. One-hundred percent of proceeds from this sale (after the cost of printing) will go to the Sherpa community via the nonprofit Alex Lowe Charitable Foundation, which has been working with Sherpa climbers in the Khumbu since 2003.
Go here to purchase a print: http://www.sherpasfund.org/
Sale ends midnight tonight PST